AIR Empire Aviation July'14

Page 1

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CONTENTS / FEATURES

Forty Six

Charlie Chaplin A look back on the life of one of Hollywood’s most iconic characters.

Fifty Two

Tilda Swinton The ethereal and LQWULJXLQJ ¿OP LFRQ RQ ZK\ being an actress was never part of her plan.

Managing Director Victoria Thatcher Editorial Director John Thatcher

Fifty Eight

Business Development Director David Wade david@hotmediapublishing.com

Meet the man Christian Dior called “the greatest talent” of his generation.

Charles James

Editor Tracey Scott tracey@hotmediapublishing.com Deputy Editor Richard Jenkins richard@hotmediapublishing.com Features Editor Lara Brunt lara@hotmediapublishing.com Senior Designer Adam Sneade Designer Andy Knappett Illustrator Vanessa Arnaud Production Manager Chalitha Fernando Advertisement Manager Rawan Chehab rawan@hotmediapublishing.com Advertisement Manager Sukaina Hussein sukaina@hotmediapublishing.com

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CONTENTS / REGUL ARS

Tel: 00971 4 364 2876 Fax: 00971 4 369 7494 Reproduction in whole or in part without written permission from HOT Media Publishing is strictly prohibited. All prices mentioned are correct at time of press but may change. HOT Media Publishing does not accept liability for omissions or errors in AIR.

Sixteen

Thirty Two

Forty Four

Sixty Eight

Radar

Timepieces

Interiors

Gastronomy

A new luxury holiday experience awaits you, courtesy of Four Seasons.

Greubel Forsey turns 10, and $,5 UHÀHFWV RQ WKH history of the travel watch.

We pick out key trends to keep your home fresh for the season ahead.

AIR speaks with Simon Rogan, the man in charge of the kitchen at Claridge’s.

Twenty Four

Thirty Eight

Sixty Four

Seventy Two

Art & Design

Jewellery

Motoring

Travel

The UAE heads to La Venice Biennale, and an exploration of Old Masters.

Cindy Chao talks ‘art jewels’, and all eyes are on Jade Jagger’s new range.

Luxury SUVs are growing in popularity – when will other brands get involved?

The English countryside has plenty of retreats to please you this summer.

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EMPIRE AVIATION GROUP

Issue Thirty Eight

WELCOME ONBOARD

Welcome to this issue of AIR, Empire Aviation Group’s lifestyle magazine for aircraft owners and onboard guests. Private aviation may seem like a glamorous and complex industry but, in some ways, it really is simply about providing a straightforward service where quality FRXQWV 3HUKDSV WKH ELJ GL̆HUHQFH LV WKDW the amount of money invested by companies and individuals in business jets can be very VLJQL¿FDQW DQG UXQ LQWR PLOOLRQV RI GROODUV This means the stakes are generally high for everyone involved. A business jet is not only a product of very sophisticated aeronautical engineering, but it also operates in a very highly regulated LQGXVWU\ JRYHUQHG E\ GL̆HUHQW DYLDWLRQ ERGLHV around the world. Due diligence is essential. When you are looking for a new aircraft, you may want to take your time and put yourself into the hands of the professionals. Our technical and quality team works closely with our aircraft procurement division to help source the right aircraft for buyers; it is a process that cannot be rushed and the YHUL¿FDWLRQ SURFHVV DORQH IRU DQ DLUFUDIW FDQ take up to three months. This is because of the extraordinary attention to detail involved in safeguarding our buyers and ensuring that they are purchasing the right aircraft. In this issue, we highlight the deep ‘forensic’ work that our technical team undertakes on behalf of buyers. We hope you like the issue and wish you an enjoyable journey.

Steve Hartley Executive Director

Contact details: info@empire.aero empire.aero - 09 -

Paras Dhamecha Executive Director

EMPIRE AVIATION GROUP NEWS

Quality Assured How EAG’s technical team puts aircraft under the microscope It’s perhaps strange but true – when you are investing millions of dollars in a business jet, the aircraft YHUL¿FDWLRQ SURFHVV WR FRQ¿UP WKH VSHFL¿FDWLRQV RI WKH DLUFUDIW before it can be recommended to the prospective buyer) starts with some homework. In fact, a lot of homework. The due diligence and attention to detail demanded when making a multimillion dollar investment decision in a business jet is a critical element of a successful purchase. Regardless of whether the buyer is buying a new aircraft from an

OEM manufacturer or a pre-owned business jet from the other side of the world, the process is the same and there are three key steps in the YHUL¿FDWLRQ RI WKH DLUFUDIW GHVN research, regulatory review, and a physical inspection. It’s a job for the experienced professionals and this is where the EAG technical team comes in, led E\ +DULVK 6DGDUDQJDQL 'LUHFWRU of Quality Assurance) who brings with him an extensive career full RI NQRZOHGJH DQG H[SHULHQFH PRUH than 37 years) gained at the most senior levels in the commercial and - 10 -

general aviation sectors. Harish also brings the incredibly valuable forensic skills required to assess an DLUFUDIW DJDLQVW WKH VSHFL¿FDWLRQV provided by the seller and ensure WKH\ PDWFK WKH GH¿QHG QHHGV RI the buyer, before rubber-stamping the deal. It’s a two to three month SURFHVV WR FRPSOHWH WKH YHUL¿FDWLRQ – although 15 days is the team’s current record. The team’s professional DSSURDFK WR DLUFUDIW YHUL¿FDWLRQ LV underpinned by meticulous attention to detail that puts every aspect of the aircraft under intense scrutiny. 7KH ¿UVW VWHS LV WR XQGHUWDNH WKH desk research to verify the records of the aircraft, which will have been maintained throughout its operational life. You really cannot over-state the importance and value of this documentation – the log book of an aircraft is really the key to

EMPIRE AVIATION GROUP NEWS unlocking its history, and so without it, the aircraft has no audit trail to follow. 7KH DLUFUDIWœV FHUWL¿FDWLRQ RSHUDWLRQDO KLVWRU\ ORJ ERRN DQG details of where it has been based and operating are all carefully assessed, along with the itemised maintenance records which provide clues and insights into the aircraft’s ZRUNLQJ OLIH LQ WKH FDVH RI D SUH owned aircraft). Even for a new aircraft acquired directly from a manufacturer, EAG applies the same level of scrutiny to verify the VSHFL¿FDWLRQV RI WKH DLUFUDIW DQG protect the interests of the buyer. The regulatory aspects of an DLUFUDIWœV KLVWRU\ FRQ¿UP WKH aircraft’s compliance with the requirements of the jurisdiction in which it has been based; if the aircraft is to be relocated, the team must evaluate the compliance requirements of the new regulatory environment. This LV D YHU\ VLJQL¿FDQW DVSHFW DV registering an aircraft in a new regulatory framework is not an easy or straightforward process and could cost the new buyer more than US$150,000 in additional acquisition costs. The same physical inspection applies to any aircraft before it can EH LQGXFWHG LQWR WKH ($* ÀHHW WKH checklist includes all the major components including engines, interior/exterior, the airframe, and landing gear. Of course, these are just the main areas of the aircraft that are thoroughly checked and each one is made up of thousands of individual, smaller components. The team looks carefully for any signs of external damage, which could be the result of collisions on the ground, or bird or lightning strikes in the air, which may have led to the need for structural repairs. $LUFUDIW YHUL¿FDWLRQ LV D WLPH consuming, arduous examination and needs to be conducted by a team of highly skilled professionals in order to keep buyers safe and ensure that they get exactly what they need and what they pay for. The EAG team

is also uniquely privileged within the region’s private aviation sector to be allowed to audit and issue ARCs ¹ DLUZRUWKLQHVV UHQHZDO FHUWL¿FDWHV – for the company’s own aircraft, as well as other operators. This is yet DQRWKHU PHDVXUH RI WKH FRQ¿GHQFH LQ our team’s capabilities. Of course, when it comes to selling aircraft on behalf of an EAG owner, WKH UHYHUVH VLGH RI WKH YHUL¿FDWLRQ process is needed, helping to ensure a smooth sale/purchase experience. Harish and his team are kept on their toes 24/7 maintaining all the aircraft records which include the various aviation regulatory authority documents with updates - 12 -

$5& DLUFUDIW ¿QDQFLQJ DXGLWV IRU ¿QDQFHG DLUFUDIW ZLWKLQ WKH ÀHHW aircraft owners’ internal audits and not forgetting the inducting of new DLUFUDIW LQWR WKH ($* ÀHHW The challenge occasionally becomes a little easier when there are several of the same aircraft W\SH ZLWKLQ WKH ÀHHW ¹ VXFK DV WKH Dassault Falcon 7X; sometimes it can be more complex, with DLUFUDIW IURP XS WR QLQH GL̆HUHQW manufacturers making up the EAG ÀHHW Regardless of the task, the EAG team of professionals is always equal to the challenge.

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A

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ALLAN STANTON | +971 50 653 5258 | allan.stanton@gulfstream.com | GULFSTREAMG550.com *At the typical initial cruise altitude of 12,497 m

RADAR

Last-minute luxury Still need to book your Eid escape? Four Seasons has launched a new booking website for its residential rentals, which combine the privacy of a villa with the personalised service and pampering of a hotel. We’ve got our eye on a two-bedroom riad at Four Seasons Resort Marrakech, split over two levels with ample living and dining space, a cool central courtyard, private pool, and large garden for family get togethers. The sprawling 40-acre resort has multiple restaurants, pools, and tennis courts, along with a lavish spa and kids’ club, plus there’s a concierge and butler on hand to organise exotic adventures like a hot air balloon ride over the Red City. vacationrentals.fourseasons.com - 16 -

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CRITIQUE

Film A Long Way Down Dir: Pascal Chaumeil When four lost souls who have decided to end their lives inadvertently meet, they form an unconventional bond as they search for reasons to keep living. AT BEST: “It’s never dull and has some touching moments.� Daily Express AT WORST: “It’s a glib and manipulative punt on a subject that deserves more care.� Total Film

Boyhood Dir: Richard Linklater Filmed over 12 years with the same cast, Boyhood follows the life of a boy named Mason, from pre-school to young adulthood. AT BEST: “Lovingly assembled and acted with such grace and ease that it scarcely looks like acting at all.� The Guardian AT WORST: “It does sag a little bit in the unremarkable years – adolescent mundaneness isn’t very cinematic – but it’s all arguably part of the master plan.� The Playlist

Earth to Echo Dir: Dave Green After receiving a bizarre series of encrypted messages, a group of kids embark on an adventure with an alien who needs their help. AT BEST: “Despite all those echoes of FODVVLF Âľ V VFL Âż IDQWDV\ DGYHQWXUHV Earth to Echo proves engaging in its own right.â€? Hollywood Reporter AT WORST: “Green wears his ‘80s-era Amblin inspirations on his sleeve in this good-hearted ‘ET’-meets‘Chronicle’ hybrid, which never quite ÂżQGV LWV RZQ YRLFH ´ Variety

Begin Again Dir: John Carney A washed-up music exec teams up with a young singer-songwriter in a bid to land her a record deal by making an album on the streets of New York. AT BEST: Âł>0DUN@ 5X̆DOR LV rogueishly endearing and endlessly watchable as ever.â€? The Evening Standard AT WORST: “It ends up playing like an endless and quickly tiresome string of movie montages.â€? Film.com

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CRITIQUE

Books Nick Harkaway earned himself a reputation as a master of the mysterious and a specialist in nonVHTXLWXUV ZLWK KLV ¿UVW WZR QRYHOV In his third, Tigerman, he takes the VDPH ÀLJKWV RI IDQF\ EXW JURXQGV WKHP ZLWK HYHQ PRUH HPSDWK\ 7KH QRYHO¶V SURWDJRQLVW /HVWHU )HUULV LV DQ HYHU\PDQ VROGLHU LQ KLV ODWH V VHQW WR WKH ¿FWLRQDO LVODQG RI 0DQFUHX ± ZKLFK LV DERXW WR EH HYDFXDWHG DQG VXPPDULO\ REOLWHUDWHG GXH WR WKH OHYHOV RI WR[LFLW\ UHQGHULQJ LW XQLQKDELWDEOH /HVWHU ¿QGV KLPVHOI on a ring of ships in international ZDWHUV MXVW RXWVLGH WKH LVODQG¶V jurisdiction, where a drunken HQFRXQWHU OHDYHV KLP ZLWK WKH LGHD RI EHFRPLQJ ³7LJHUPDQ´ ± DQG SRVVLEO\ 0DQFUHX¶V QHZ KHUR 7KH *XDUGLDQ¶V 6WXDUW .HOO\ VD\V ³7KH trick with this kind of storytelling LV WR NHHS WKH EDOOV LQ WKH DLU ,W LV D kind of literary misdirection, and when accomplished with panache, it LV WUHPHQGRXVO\ H̆HFWLYH«+DUNDZD\ uses the story of a disappointed PDQ DQG D GLVHQIUDQFKLVHG ER\ WR H[DPLQH PDWWHUV RI UHDO LPSRUW ´ 7RP 2GDLU RI 7KH 6FRWVPDQ DJUHHV DQG SUDLVHV +DUNDZD\¶V YRLFH VD\LQJ KH ³KDV DOO WKH ZULWHUO\ VNLOOV WR SXOO LW R̆´ +H DGGV ³+LV 7LJHUPDQ OLYHV EHFDXVH RI KLV ZLW DQG GDULQJ LQWHOOLJHQFH DQG KLV HPSDWK\ :RUGV TXLYHU ZKHQHYHU KH ZULWHV ´ 'HVFULEHG DV ³7KH %HVW :ULWHU LQ $PHULFD´ H[SHFWDWLRQV DUH KLJK IRU 0:$ 0\VWHU\ :ULWHUV RI $PHULFD *UDQG 0DVWHU -DPHV /HH %XUNH¶V QHZHVW :D\IDULQJ 6WUDQJHU 7KH VSUDZOLQJ $PHULFDQ VDJD GRHVQ¶W GLVDSSRLQW ,W WDNHV LQ WKH OLIH RI 7H[DV¶ :HOGRQ +ROODQG GXULQJ WKH \HDUV RI WKH 86 *UHDW 'HSUHVVLRQ ZKR RYHU WKH FRXUVH RI KLV OLIHWLPH KDV D FKDQFH HQFRXQWHU ZLWK %RQQLH DQG &O\GH EHIRUH WKH\¶UH PRZQ GRZQ E\ PDFKLQH JXQ ¿UH LQ /RXLVLDQD DQG JRHV RQ WR VHUYH LQ ::,, $IWHU OLEHUDWLQJ FRQFHQWUDWLRQ FDPS SULVRQHUV :HOGRQ JRHV RQ WR EXLOG D OXFUDWLYH RLO SLSHOLQH EXVLQHVV ± DQG

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CRITIQUE

Art It’s no secret that the future is digital – but what does that meant for traditional methods of artistic communication? The Barbican’s newest exhibition aims to explore this bold new world, featuring collaborations with Google, will.i.am, Yuri Suzuki and Oscarwinning VFX supervisor Paul Franklin. Visitors to the Londonbased performing arts centre will interact with three-dimensional ODVHU OLJKW ÂżHOGV SHW URERWLF VQDNHV and see the future of “wearable techâ€?. As well as providing a vision of the future, Digital Revolution also examines the past, and how the history of electronic art has formed the way we live today. Classic video games like Pacman and Space Invaders will be operational, to display how far that medium has come in such a short space of time. Veronica Giordano of The Positive says this is more than just a geeky collection of gadgets or gathering IRU VFLHQFH ÂżFWLRQ QRVWDOJLVWV 6KH says: “Digital Revolution seems to EH IRFXVHG RQ WKH FUHDWLYH H̆HFW WKDW new technologies possess for people in and outside the art business and KRZ WKH ERXQGDULHV RI WKH DUW ÂżHOG JHW UHGHÂżQHG E\ WKHVH WHFKQLFDO means.â€? Digital Revolution runs from July 3 to September 14. ,Q RQH RI WKH ÂżUVW 86 H[KLELWLRQV to explore Eastern art, Here and Elsewhere presents the work of 40 artists hailing from Middle Eastern regions including Dubai, Jordan, Lebanon and Palestine. Each artwork deserves to be viewed as an individual, but when the works are collected together, Time Out says: “The artists are nevertheless united in their desire to deal with historical events – of which there have been many in this turbulent region.â€? The exhibition takes its titles from a ÂżOP HVVD\ E\ )UHQFK GLUHFWRUV Jean-Luc Godard, Jean-Pierre Gorin and Anne-Marie MiĂŠville. Their ÂżOP ZDV LQLWLDOO\ LQWHQGHG WR EH D

pro-Palestinian documentary, but it transformed into a study on the ethics of representation and the ways in which images can be used by the ruling classes and indeed, the classes that are ruled. The exhibition curators are reluctant to suggest that these pieces R̆HU D ¿[HG GH¿QLWLRQ RI $UDELF DUW EXW WKDW WKH\ R̆HU D VQDSVKRW RI KRZ things were at a certain time, for a certain person – or group of people. Here and Elsewhere runs at the New Museum of Contemporary Art, New York, from July 16 to September 28. Rome’s Palazzo delle Esposizioni currently houses National Geographic, 125 years: The Great Adventure. The exhibition has proved so popular since opening in April that its run has been extended into July, giving summertime travellers one last chance to view 125 years of National Geographic’s peerless photography of the world. The exhibition follows a sensible linear format, with 125 photos, - 22 -

exhibit panels, National Geographic magazine covers, and TV and touch screens charting the 125 years of the magazine’s existence since its creation in Washington in 1889. Guglielmo Pepe, the exhibition’s curator, says that the display has a second purpose beyond celebrating National Geographic’s history. He says: “There is one further message the exhibition aims to convey: that we are the most intelligent beings on our planet, but not the best. We must be more respectful towards other creatures, since Mother Earth’s destiny lies primarily in our hands. We cannot ignore, or feign to ignore, that we are not her masters. Let us bear in mind that the resources we have at our disposal are not inexhaustible. If after the exhibition you will gaze at all living species ZLWK GL̆HUHQW Âą PRUH HPSDWKLF and understanding – eyes, it will have accomplished its mission. It will mean that the hope of having a better world is still alive.â€?

Theatre

Lyndsey Turner has made a triumphant return to London’s Donmar Warehouse, with the Olivier Award-winning director’s production of Fathers and Sons delighting critics. Irish playwright Brian Friel’s adaptation of Turgenev’s 19th-century novel centres on two university friends who arrive at a country estate: one, the son of the landowner, the other a charismatic radical, proclaiming a dangerous new philosophy. As the new houseguest attacks the values of his hosts, tensions surface between one generation and the next. The Telegraph’s Charles Spencer – a big fan of Friel – is impressed: “This is a wonderfully rich and absorbing play, and it is hard to imagine it being better staged than it is here.� Henry Hitchings of the Evening Standard

agrees, declaring it “a deeply satisfying mix of soulfulness and eleganceâ€?. Sarah Hemmings in the Financial Times believes the transition from page to stage produces some bumps. “There is some stilted narrative pacing and several undernourished characters (the women in particular). But there’s a quiet, subtle humanity to it and this is what Turner’s production projects.â€? Until July 26. Also in London, a revival of Antony and Cleopatra has opened at Shakespeare’s Globe. Directed by Jonathan Munby, the production stars Eve Best as Cleopatra and Clive Wood as Antony. Set in Rome and Egypt, the play IROORZV WKH LOO IDWHG ORYH D̆DLU EHWZHHQ WKH Egyptian ruler Cleopatra and Roman general Mark Antony during a time of great upheaval in the Roman Empire. Best’s “Egyptian queen is as good as you’d expect: funny, endearing, maddening, and above all, fabulously lucid,â€? writes Time Out’s Andrzej Lukowski. And Wood’s “warm, expansiveâ€? Antony is up WR VFUDWFK GHVSLWH UHFHQW LOOQHVV Âł$ ÂżQH production, which brings Shakespeare’s gorgeously written melodrama down to earth in the best sort of way,â€? he writes. With Wood recovering from illness, and another actor forced to bow out after injury, the play’s “opening short-changed the audience in terms of poetry and passionâ€?, writes Charles Spencer in The Telegraph. “But with luck, it will gain in emotional power as the run progresses.â€? Until August 24. Meanwhile, on Broadway, it’s your last chance to catch Anna D Shapiro’s revival Of Mice and Men. Hollywood stars James Franco and Chris O’Dowd make their Broadway debuts alongside Leighton Meester (of Gossip Girl fame) in John Steinbeck’s classic Depression-era tale of two itinerant farmhands searching for work. Franco and O’Dowd are “well deserving of all their kudosâ€? in this “emotionally devastating revivalâ€?, says Variety’s Marilyn Stasio. “But the other star of the show is helmer Anna D Shapiro, who turns in an impeccably mounted production without a single blemish.â€? The New York Times’ Ben Brantley, however, feels the two leading men “generate little discernible chemistryâ€?. “Neither actor overplays, which is considerate, but they do remain largely monolithic,â€? he writes. While praising Shapiro’s “handsome, meticulously designed SURGXFWLRQ´ %UDQWOH\ VD\V WKH SOD\ ÂłIHHOV DERXW DV Ă€XLG as a diorama in a history museumâ€?. Until July 27.

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ART & DESIGN

George Condo, Portrait of a Woman, 2002, oil on canvas, ŠGeorge Condo, courtesy of Skarstedt.

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In C Homage

ontemporary artists such as Sigmar Polke, George Condo and Francis Bacon have achieved success in WKHLU ¿HOGV E\ SLRQHHULQJ QHZ methods and expressions. +RZHYHU HYHQ WKRXJK WKHVH DUWLVWV KDYH IRXQG IDPH E\ SORXJKLQJ WKHLU RZQ IXUURZV WKH\ KDYH DOO EHHQ LQÀXHQFHG RQ VRPH OHYHO E\ WKH PDVWHUV RI WKH SDVW ,Q +RPDJH LV DQ H[KLELWLRQ RI VHPLQDO DUWZRUNV E\ PRGHUQ PDVWHUV WKDW DOVR LQFOXGHV $QG\ :DUKRO DQG 0DUWLQ .LSSHQEHUJHU ZKLFK GLVSOD\V SDLQWLQJV LQÀXHQFHG E\ PDVWHUSLHFHV IURP 3LFDVVR *R\D 0XQFK DQG PDQ\ RWKHUV $V ZHOO DV EHLQJ D FRPSDULVRQ RI LPDJHU\ WKH H[KLELWLRQ H[DPLQHV WKH ḊQLW\ EHWZHHQ WKHVH artists’ stylistic approaches and processes. Not seen in London since 1962, Bacon’s 6WXG\ IRU D 3RSH ,,, ZDV FRQFHLYHG DIWHU %DFRQ EHFDPH REVHVVHG ZLWK 9HOi]TXH]¶V 3RUWUDLW RI 3RSH ,QQRFHQW ; ¿UVW GLVSOD\HG LQ 'HVSLWH EHLQJ VHSDUDWHG E\ WKUHH FHQWXULHV WKH FRQWUDGLFWLRQ RI PDQ¶V PRUWDOLW\ YHUVXV WKH HYHUODVWLQJ SRZHU RI WKH 3DSDO ṘFH LV SRZHUIXOO\ HYLGHQW LQ ERWK ZRUNV %DFRQ KLPVHOI UHIHUUHG WR WKH 9HOi]TXH] ZRUN DV ³RQH RI WKH JUHDWHVW SRUWUDLWV WKDW KDV HYHU EHHQ PDGH´ DQG KDG RULJLQDOO\ SODQQHG D IXUWKHU ¿YH FRPSDQLRQ SLHFHV WR IRUP D SRO\SW\FK RI SDLQWLQJV RQO\ WR VWRS DIWHU WKH ¿UVW 7KHUH KDV SHUKDSV EHHQ QR PRUH LPLWDWHG copied or inspirational artist in history than 3LFDVVR +LV SLRQHHULQJ ZRUN LQ WKH ¿HOGV RI &XELVP FRQVWUXFWHG VFXOSWXUH DQG FROODJH PDGH KLP RQH RI WKH PRVW YDULHG DQG H[FLWLQJ DUWLVWV RI DOO WLPH *HRUJH &RQGR¶V 3RUWUDLW RI D :RPDQ LV SODLQO\ LQÀXHQFHG E\ WKH ZRUN LQ QHR FODVVLFLVP 3LFDVVR ZDV GHYHORSLQJ LQ WKH V 3LFDVVR¶V PDVWHU\ RI IRUP DQG WKH VWUHQJWK RI OLQHV FRPH WKURXJK LQ &RQGR¶V ZRUN DV PXFK DV VW\OLVWLF HOHPHQWV RI KLV RZQ VXFK DV WKH ZRPDQ¶V PLVPDWFKHG H\HV 3LFDVVR KLPVHOI VDLG ³:H WKH SDLQWHUV DUH WKH WUXH KHLUV WKRVH ZKR FRQWLQXH WR SDLQW :H DUH KHLUV WR 5HPEUDQGW 9HOi]TXH] &p]DQQH 0DWLVVH $ SDLQWHU DOZD\V KDV D IDWKHU DQG D PRWKHU KH GRHVQ¶W HPHUJH RXW RI QRWKLQJ ´ ,Q FHQWXULHV WR FRPH WKH DUWLVWV RI WKH IXWXUH ZLOO HPXODWH WRGD\¶V PDVWHUV ± DQG H[KLELWLRQV OLNH WKLV ZLOO EH WKHUH WR FHOHEUDWH WKHP

What happens when artists mimic artists? A fascinating new exhibition explores the influences of modern masters Words: RICHARD JENKINS

In Homage runs at Skarstedt, London until August 8. skarstedt.com

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ART & DESIGN

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O The Lost

CITIES

A new exhibition at Venice’s Architecture Biennale showcases the changes in the UAE over the last 100 years

ver the last decades, Dubai, Abu Dhabi and Sharjah have expanded almost beyond recognition – both outwards and upwards. For the UAE’s participation at the 2014 Venice Architecture Biennale, Lest We Forget: Structures of Memory in the United Arab Emirates, aims to unearth the architectural traditions that underpin the country’s cultural LGHQWLW\ DQG LV DOVR WKH ÂżUVW WLPH WKH UAE has been represented at this important architectural event. Where now we see atmospherepricking skyscrapers like the Burj Khalifa (the world’s tallest) and man-made islands shaped like palm trees, in decades past these areas were much more modest. Curated by Dr. Michele Bambling in association with the research team of Adina Hempel, Marco Sosa and Hanan Sayed Worrell, the exhibition examines the architectural history of Dubai, Abu Dhabi and Sharjah as far back as 1914 up to the present day. As well as records from architects and engineers tasked with building these great cities, the locations are given a voice through audio recordings and photographs from the citizens and residents of the time. “I began the Lest We Forget

‘I wanted to learn about Emirati people and culture through vernacular photographs’ project because I wanted to learn about Emirati people and culture through vernacular photographs – photographs that UAE nationals took themselves, of themselves and for their own purposes,� says Bambling. “At the time few vernacular photographs had been published and were rarely - 27 -

ART & DESIGN shared outside family circles. For the exhibition we integrated oral histories and family snapshots from the local and the international community with the professional narrative and information provided by architects, engineers, historians, etc. In this way, one may understand how buildings were commissioned, designed and built, as well as how these buildings were actually used, experienced and remembered. This

‘We discovered that the identity of tribes was expressed regionally’ rich account reveals the impact of architecture and infrastructure upon urban society in the UAE. It also underscores the importance of historic buildings no longer standing, but still vivid in memories.� The exhibition explores the reasons why the Emirates have risen

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up in the manner that they have. Of particular interest, says Bambling, is the way in which people adapted ideas of modern architecture and employed new materials and techniques to traditional structures. “For example, the use of reinforced concrete to build wind-tower houses or the application of privacy screening across the facades of KLJK ULVHV ´ VKH VD\V Âł7KH ḢFLHQF\ and sensitivity to the environment achieved by vernacular arish (palm frond) and coral construction is also intriguing, for example that the porous coral and open weave palm frond kept structures cool. We discovered that the identity of tribes was expressed regionally through roof shapes of arish structures, with domed forms in the north, pitched roofs along the coasts and XQWULPPHG XQGXODWLQJ URRĂ€LQHV RI the interior.â€? Despite such fundamental changes in their design and populace over the past few decades, Bambling is hopeful that the Emirates will not lose their cultural identities in the next hundred years. Asked to predict the fortunes of Abu Dhabi, Dubai DQG 6KDUMDK VKH VD\V Âł,W LV GL̇FXOW to foresee what these cities will look like one hundred years from now; surely at the turn of the 19th century WKH ÂżVKHUPHQ DQG SHDUO GLYHUV would not have predicted the coasts of their villages would be lined by skyscrapers. I envision that these cities will construct buildings that are useful, aesthetically pleasing and environmentally responsible through the decades. Yet, within the fabric of urban development, I hope that certain monuments from each decade will remain to remind people of the layers of the cities’ history.â€? The Venice Architecture Biennale is open until November 23 at various venues across the city. - 29 -

ART & DESIGN

YES, MASTER

While artistic attention today seems fixed on contemporary and modern, it is fine art from the 15th to 20th centuries that has piqued AIR’s interest. Ahead of Master Paintings Week in London this month, its founders reveal the artwork collectors should look out for – and there’s not a balloon dog in sight

Konrad O. Bernheimer, the fourth generation of one of Europe’s major art dealing families, will be presenting a number of key artworks at this year’s event. His choice piece, however, is a pair of intriguing panels by Simon Franck. ³7KHVH WZR PDJQL¿FHQW wing panels from a lost altarpiece are recently rediscovered masterpieces by one of the most talented and unjustly neglected followers of Lucas Cranach the Elder, Simon Franck. Highly regarded in his own time, Franck became court painter in the 1520s to Cranach’s great patron, Cardinal Albrecht of Brandenburg in succession to Matthias Grünewald, one of the great masters of the German Renaissance school. Recent research

has revealed that the authorship of the two panels can now

FRQ¿GHQWO\ EH DVFULEHG to Simon Franck whose artistic personality and - 30 -

importance is only now beginning to emerge from the shadows.”

© Richard Green Galleries, London. © Image of Johnny Van Haeften, Prudence Cuming Associates.

HAMMER TIME

Running alongside Master Paintings Week, which forms part of London Art Week, is a series of auctions. Paddle at the ready… Richard Green has been GHDOLQJ LQ ¿QH TXDOLW\ paintings, spanning 17th century Old Masters to 21st century British art, for 55 years. Here, its CEO Jonathan Green homes in on a portrait of a gentleman by Corneille de Lyon. “This hauntingly beautiful and very rare work by Corneille de Lyon combines Flemish realism with French grace. Corneille was born in The Hague but worked for the Court of Henri II

in Lyon; this young man, wearing expensive crimson and black clothing, is probably a Royal ṘFHU 7KH EUXVKZRUN combines a miniaturist’s precision with an almost impressionistic freedom,

the more remarkable as Corneille paints directly onto panel without any underdrawing. It’s a wonderful, intimate portrait that speaks straight to us across four and a half centuries.”

Venerable art dealer Johnny Van Haeften specialises exclusively in Dutch and Flemish Old Master paintings of the 16th and 17th century. His stand-out piece for this year’s event, which forms part of London Art Week and also incorporates Master Drawings and

Sculpture Week, is Pieter Brueghel the Younger’s Spring, datable c. 1620. “Pieter Brueghel the Younger’s painting of this subject is a charming evocation of

spring. The setting is a Flemish village, situated on the banks of a small river, while the composition is divided into three segments: the foreground is devoted to gardening, the activity associated with the month of March; further back at the right, the month of April is represented by a sheepfold in which animals are being sheared and a washerwoman laying out strips of white linen to dry, a well-known symbol of spring; and for the month of May, Pieter the Younger deviates from his father’s original drawing with elegant couples feasting and making music.” - 31 -

July 8, 9 & 10 Christie’s (King Street): Old Master & British Paintings Top lot: Venice, the Bacino di San Marco with the Piazzetta and the Doge’s Palace by Francesco Guardi, on offer for the first time in over a century.

July 9 Bonham’s (New Bond Street): Old Master Paintings & Drawings Top lot: An enchanting oil painting of Sappho and Cupid by JeanHonoré Fragonard, which perfectly conveys the artist’s painting style.

July 9 & 10 Sotheby’s: Old Master & British Drawings; and Old Master & British Paintings (Evening Sale) Top lot: Tygers at Play by George Stubbs, a rare example of Stubbs’ big cat paintings to appear on the market in recent years. Masters Painting Week runs July 4-11, masterpaintingsweek. co.uk.

TIMEPIECES

TARIQ MALIQ

Travel Companion

As summer hots up and travel plans are laid down, we look at the history of ‘the’ travel watch, the Rolex GMT

T

he Rolex GMT’s history is intertwined with the dawn of modern air travel. In 1954, Pan American Airways (Pan Am), at that time the world’s largest airline, turned to Rolex and requested it create a watch that could keep both local and home time simultaneously. In addition WR WKH FOHDU EHQH¿W RI PDLQWDLQLQJ schedule, it also helped pilots FRPEDW D QHZ FRQGLWLRQ IURP À\LQJ across multiple timezones: jet lag. The Rolex GMT became an instant cult classic with its elegant

VLPSOLFLW\ H̆HFWLYHQHVV DQG LFRQLF design. Its red GMT hand completed one rotation every 24 hours, and the rotatable bezel (best known in the iconic Red/Blue or Pepsi combination) provided a reference for the 24 hour hand. This design became a symbol of a new era of transatlantic travel. 7KH ÂżUVW *07 WKH UHI FDPH in either steel or gold. The case was a comfortable 38mm and came without crown guards, making the case smaller and sleeker. However, WKH PRVW GHÂżQLQJ IHDWXUH LV WKH acrylic ‘bakelite’ bezel, selected E\ 5ROH[ GXH WR LWV DQWL UHĂ€HFWLYH - 32 -

QDWXUH DQ REYLRXV EHQHÂżW IRU SLORWV Yet Rolex soon realised its mistake as Bakelite proved to be extremely fragile and cracked easily, while the numerals were painted with radium, a highly radioactive material. The decision was quickly made to switch to steel bezels making the Bakelite bezel extremely rare and collectable. An unused Bakelite bezel recently sold at auction for US$32,500, nearly half the price of the watch itself, a testimony to its rarity. This reference also borrows its nickname IURP D -DPHV %RQG ÂżOP FKDUDFWHU Pussy Galore, who wore the watch in *ROGÂżQJHU

Other notable travel-inspired timepieces A. Lange & SĂśhne Lange 1 Time Zone With its signature offset dial and large date function, the Lange 1 Time Zone displays 2 different time zones, has a date indicator, power reserve, day/night indicator and an outer ring which informs the wearer which foreign city they are in. Patek Philippe World Time The World Time tells the time in 24 cities, and can be instantly adjusted to reflect local time without affecting or having to change the minute hand. There is also a day/night indicator with sun and moon at opposite sides reflecting noon and midnight. This is an easy watch to use and beautiful to look at. Rolex Sky Dweller Launched at Basel 2012, the newest model family from Rolex is aimed at jetsetters. Its technological advances are protected by 14 patents, the most impressive being its Ring Command Bezel where the bezel can be used to adjust the date, local time or home time. Functions also include a month display via 12 apertures around the circumference of the dial, making this watch an annual calendar as well as showing two time zones.

,Q 5ROH[ ODXQFKHG WKH UHI ZKLFK EHFDPH WKH GHÂżQLWLYH GMT reference and was produced until 1980. It was sized at a modern day 40mm with a thicker case and crown guards adding further weight. Two types of crown guards were used; pointed-crown guards (also called ‘cornino’ and desired by collectors owing to its rarity) and the more classic shaped crown guards. At this point Rolex began testing various dial FRQÂżJXUDWLRQV DQG PDWHULDOV 8QWLO Rolex used a rather complex process to create so-called gilt dials. Over time, these dials also changed color VLJQLÂżFDQWO\ due to temperature and humidity, earning the name tropical dials. Gilt dials are highly collectable and features such as the small red hand all refer to various FRQÂżJXUDWLRQV 5ROH[ used and which have now added to the collectability of the /DWHU LPSURYHPHQWV include quick-set date function, sapphire crystal, independently adjustable GMT hand and ceramic bezels. Famous wearers of the GMT include artists (Pablo Picasso), revolutionaries (Che Guevara) and actors (Clint Eastwood). It was also used in extreme conditions by NASA astronauts and test-pilots such as Chuck Yeager. Some were also made on special order by various air forces, including a very few presented with the signature of HH Sheikh Mohammed Bin Rashid Al Maktoum. - 33 -

TIMEPIECES

Past master Words: LARA BRUNT

As Greubel Forsey celebrates its 10th anniversary, Stephen Forsey reflects on his remarkable inventions and desire to safeguard centuries-old techniques

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W

hile many young companies strive for increased production and rapid expansion, decade-old LQGHSHQGHQW ZDWFKPDNLQJ ÂżUP *UHXEHO )RUVH\ KDV D YHU\ GL̆HUHQW goal. Founded by Englishman Stephen Forsey and Frenchman Robert Greubel, the company specialises in timepieces with multiple tourbillons and inclined balance wheels, producing just 100 pieces a year, which can command up to US$1million a pop. “We’re limited by the level of handcraftsmanship, because we want to achieve a level of execution that will be as close to the very best of what could be done before the Industrial Revolution,â€? says Forsey. 7KH ÂżUP TXLFNO\ HVWDEOLVKHG LWVHOI as a force to be reckoned with when it unveiled its Double Tourbillon GHJUHH 7HFKQLTXH DW %DVHOZRUOG 2004. The groundbreaking timepiece featured two tourbillon cages, rotating at two speeds on two separate axes, with the inner cage set at an angle to the outer one. “The idea to make our own watch with our own signature came about because we had an idea for a mechanism around this tourbillion and we wanted to see the result. And the only way to do that was to make the complete piece,â€? Forsey says. %RUQ LQ 6W $OEDQV (QJODQG Forsey inherited his father’s fascination with the intricacies of mechanics. From 1987, he VSHFLDOLVHG LQ DQWLTXH ZDWFK UHVWRUDWLRQ DQG ZDV VXEVHTXHQWO\ appointed head of Asprey of London’s prestigious watch restoration department. After furthering his horological education at WOSTEP (Watchmakers of Switzerland Training and Educational Program), he moved to Switzerland in 1992. He met Greubel at Renaud & Papi and worked on the most complicated mechanical movements, before leaving in 1999 to work independently. In 2001, the

‘The firm quickly established itself as a force to be reckoned with’

two former colleagues launched CompliTime, with the aim of creating complication mechanisms for key brands. Three years later, WKH\ ODXQFKHG WKHLU RZQ PDUTXH Following the success of the Double Tourbillon 30-degree, the company designed a further ÂżYH VLJQLÂżFDQW LQYHQWLRQV WKUHH of which have been realised: the - 35 -

Quadruple Tourbillon, the Tourbillon 6HFRQGHV WKH %DODQFLHU 6SLUDO %LQ{PH D ZRUN LQ SURJUHVV WKH 'L̆pUHQWLHO GœeJDOLWp DOVR LQ WKH development phase) and the Double %DODQFLHU 7KHVH PHFKDQLVPV form the heart of Greubel Forsey’s timepieces, which are available in D QXPEHU RI XQLTXH HGLWLRQV DQG FROOHFWLRQV ³%\ SXVKLQJ RXUVHOYHV D

TIMEPIECES little further every time, we enable the collector to go further in their passion,â€? says Forsey. 7KH ÂżUPÂśV KDUG ZRUN SDLG R̆ LQ 2011, when the Double Tourbillon GHJUHH 7HFKQLTXH VFRUHG RXW of 1,000 points at the International Chronometry Competition, setting WKH UHFRUG ZKLFK VWLOO VWDQGV WRGD\ IRU WKH PRVW DFFXUDWH KDQGPDGH PHFKDQLFDO ZDWFK 1HZ HGLWLRQV IRU LQFOXGH WKH 'RXEOH 7RXUELOORQ 7HFKQLTXH GHJUHH %L FRORXU DYDLODEOH ZLWK D SODWLQXP RU UHG JROG FDVH DQG OLPLWHG WR SLHFHV IRU HDFK YHUVLRQ DQG WKH 'RXEOH 7RXUELOORQ $V\PpWULTXH IHDWXULQJ an asymmetric positioning of the mechanism that has previously only EHHQ SUHVHQWHG V\PPHWULFDOO\ Another exciting reinterpretation is the Platinum GMT, featuring the VHFRQG WRXUELOORQ ZLWK GHJUHH inclination set against a platinum EDFNGURS Âł7KH UHPDUNDEOH RULJLQDO DVSHFW LV WKH WKUHH GLPHQVLRQDO globe, with the North Pole in the FHQWUH DQG URWDWLQJ DQWL FORFNZLVH What is interesting is that you can VHH GD\WLPH DQG QLJKW WLPH DFURVV WKH JOREH DW D VLPSOH JODQFH %XW LI \RX QHHG WR NQRZ WKH WLPH SUHFLVHO\ ZHÂśYH SURJUDPPHG D WLPH ]RQH KRXU GLVF DOVR URWDWLQJ LQ UHDO time,â€? says Forsey. :LWK WKH LQFUHDVLQJ LQGXVWULDO LVDWLRQ RI ZDWFKPDNLQJ PDQ\ LQGHSHQGHQW ZDWFKPDNHUV OLNH )RUVH\ DUH FRQFHUQHG WKDW WKH FHQWXULHV ROG WHFKQLTXHV RQ ZKLFK WKH\ UHO\ DUH VORZO\ GLVDSSHDULQJ Âł:H DUH WRWDOO\ GHSHQGHQW RQ WKH VNLOO RI RXU WHDP RI KDQG ÂżQLVKHUV DQG ZDWFKPDNHUV ´ VD\V )RUVH\ Âł7KLV ORVV RI NQRZ KRZ FHUWDLQO\ for us, is of grave concern because LWÂśV EHHQ VORZO\ VTXHH]HG RXW RI WKH FXUULFXOXP RI ZDWFKPDNLQJ WUDLQLQJ HYHQ LQ 6ZLW]HUODQG ´ ,Q UHVSRQVH )RUVH\ DQG *UHXEHO FUHDWHG D IRXQGDWLRQ LQ ZLWK WKUHH RWKHU LQGHSHQGHQW ZDWFKPDNHUV Âą 3KLOLSSH 'XIRXU 9LDQQH\ +DOWHU DQG .DUL 9RXWLODLQHQ Âą WR VXSSRUW ZDWFKPDNHUV ZKR ZDQW to branch out on their own. The QH[W VWHS ZDV WR ODXQFK /H *DUGH

7HPSV OD 1DLVVDQFH GÂśXQH 0RQWUH in 2011, a long-term project whereby DQFHVWUDO NQRZOHGJH WHFKQLTXHV DQG PRYHPHQWV DUH SDVVHG RQWR D WDOHQWHG ZDWFKPDNHU ZKR ZLOO LQ turn teach young apprentices the KDOORZHG FUDIW 0LFKHO %RXODQJHU D TXDOLÂżHG ZDWFKPDNHU DQG WHDFKHU DW WKH 3DULV :DWFKPDNLQJ 6FKRRO ZDV D QDWXUDO FKRLFH Âł+LV PLVVLRQ LV WR EXLOG E\ KDQG XVLQJ RQO\ WUDGLWLRQDO WHFKQLTXHV DQG WRROV D IHZ H[DPSOHV

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of a tourbillion wristwatch in the VW\OH RI WKH WK DQG WK FHQWXULHV ´ VD\V )RUVH\ ,W LV D FRPSOH[ DQG FRVWO\ SURMHFW ZLWK WKH ¿UVW WLPHSLHFH QRW H[SHFWHG IRU DW OHDVW another two years, but one that Forsey feels is vital to preserve the VNLOOV QHFHVVDU\ WR FUHDWH KLJK HQG WLPHSLHFHV DQG PDLQWDLQ KLVWRULFDO FROOHFWLRQV LQ WKH IXWXUH ³:H KRSH WKDW E\ WKH WLPH ZH JHW WR WKH ¿UVW ¿QLVKHG SLHFH SHRSOH ZLOO VWDUW WR XQGHUVWDQG WKH LPSRUWDQFH RI WKLV ´

‘By pushing ourselves a little further every time, we enable the collector to go further in their passion’

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JEWELLERY

Designs like Jagger $OO H\HV DUH RQ IRUPHU FUHDWLYH GLUHFWRU RI *DUUDUG -DGH Jagger, and her pending avant-garde jewellery collection

S

he’s dabbled in wings, dipped into skulls and drawn on disco, Jade Jagger’s jewellery is as eclectic as her bohemian lifestyle. For 20 years now, Jagger, daughter of Rolling Stones frontman Mick Jagger and former model Bianca Jagger, has been designing clean and quirky pieces – diamond arrows, iolite tassels, striking SHQGDQWV ¹ LQ WKH ¿QHVW PDWHULDOV $QG GHVSLWH voluntarily dissolving her Jade Jezebel Jagger lifestyle brand last year, the 42-year-old is back with a bang. The designer pronounced her new collection, set to launch in September on 1stdibs.com, during the recent opening of her by-appointment-only store in London’s Bond Street. More regal than rock chic, Neverending is a stunning collection made up RI VWDQG RXW VWRQHV DQG JOLVWHQLQJ JROG $QG at a quick glance, Jagger’s love of precious stones and India (where her initial watercolour renderings are transformed into actual pieces) pop throughout. 2Q UHÀHFWLRQ -DJJHUœV OLVW RI FUHDWLYH connections meant that design was always a likely path. Born in Paris in 1971, she spent her HDUO\ \HDUV SOD\LQJ LQ $QG\ :DUKROœV IDPRXV New York factory. So close was the designer’s PXVLFLDQ IDWKHU WR :DUKRO 0LFN -DJJHU appointed him godfather to his daughter. $QG SHUKDSV LW ZDV :DUKRO ZKR HQFRXUDJHG

her trail into design. “I love Mick and Bianca [Jagger], but Jade’s more my speed. I taught her how to colour and she showed me how to play Monopoly. She was four and I was fortyIRXU ´ :DUKRO RQFH VDLG From The Factory to Florence Jagger went, where her teenage years were consumed by painting, holding a number of exhibitions of her work. In 1994, the new grandmother \HV JUDQGPD KHU GDXJKWHU $VVLVL JDYH birth to a daughter this May) set up Jade Inc, a, bohemian collection of one-of-a-kind jewellery. The pieces were initially available through Paul Smith stores around the world, followed by Bergdorf Goodman, Barneys, %URZQV HW DO VKRUWO\ DIWHU $ IHZ \HDUV ODWHU in 2000, she was appointed creative director of former Royal jeweller Garrard (formerly $VSUH\ *DUUDUG EHIRUH D GHPHUJHU LQ saw the two brands go it alone), a post she left in 2006 but not without leaving her avant-garde mark. Since then, she’s worked with some of the world’s most sought-after brands on commission pieces, and partnered with property tycoon John Hitchcox and architect Philippe Starck on a handful of interiors projects. Pair this with her pending jewellery collection and it seems Jagger’s eye for design is, indeed, never-ending. 1stdibs.com - 38 -

STAR JEWELS Here’s our pick of this season’s most alluring pieces…

Famous for its bejewelled jungle cats, Cartier’s panther ring with emerald eyes is simply stunning

‘More regal than rock chic, the collection is made up of stand-out stones and glistening gold’

We can’t get enough of Swiss high jeweller BoghArt’s whimsical butterfly diamond earrings

Carrera y Carrera’s new Orquídeas necklace dazzles with rubies and diamonds - 39 -

Dubai Mall | Dubai Marina Mall | Mall of the Emirates | Wafi | Gold Souk

JEWELLERY

CHAO FACTOR

Ahead of ‘art-jeweller’ Cindy Chao’s exhibition in Paris this month, the Taiwanese designer talks to AIR about the intricate bond between art and jewellery design

T

hese days there seems to be a creative (and commercial) lean towards art jewellery. The kind that wouldn’t look out of place in a box at the Museum of Modern Art in New York or on an auction table at Sotheby’s. One designer who has been orbiting this trend for a decade now is Cindy Chao. The Taiwanese-born designer has taken a centuriesold object – jewellery – and merged it with a centuriesold medium – art. And the two subjects combined have given rise to a new type of artisan: the luxury art jeweller. “I believe a piece of jewellery is an extension of our personality, a story waiting to unfold, an exchange of emotion, and essentially a form of art,� says Chao. “Therefore, when I create an ‘art jewel’, it is not only as an accessory.� For Chao, who is showcasing her new high-end collections during Paris Haute Couture fashion week from July 7 to 10, there was no formal training in jewellery design. Instead, it was her family heritage that set the creative cogs in motion. She recounts colourful stories of a childhood spent observing her sculptor father (An-Yu Chao) as he “sculpted life and emotion

into all his worksâ€?. She tells about visiting temples with her architect grandfather (Zi-Nan Xie), listening in as he explained his blueprints to the craftsman. “Because of my grandfather, an architect who designed and built hundreds of temples across Taiwan, many of which are QRZ FODVVLÂżHG DV KLVWRULFDO PRQXPHQWV , GHYHORSHG WKH love and passion for architecture. It was him who taught me to see things outside the box, to view every side of a building as the front, and to be meticulous in detail.â€? Such slavish attention to detail was also observed in her father’s workshop. “When I was little, I used to accompany him while he was immersed in his work. Often, to keep me quiet, I would be given projects – a piece of clay for my own creation. My father would comment on my projects, and share with me his words RI ZLVGRP Âą ÂľUHJDUGOHVV RI WKH VXEMHFW WKH ÂżQDO SLHFH must be as vibrant as it is in real life. Spend time to observe the object, pay close attention to the most minute detail and then, with your heart and soul, put into forms what you’ve perceived’.â€? And her father’s “wisdomâ€? still resonates with Chao WRGD\ Âł0\ PLQGVHW LV QRW ¾¿[HGÂś WR WKH WUDGLWLRQDO ZD\ RI jewellery making. It distinguishes my works and enables me to truly express myself through my art jewels, to

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create every jewellery piece as a miniature sculpture. And sculptural is exactly how I’d describe my works.� Each piece of jewellery, be it from her exclusive Black Label Masterpieces collection, of which only 12 bespoke orders are accepted each year, or her more D̆RUGDEOH :KLWH /DEHO VHULHV ZKLFK FHOHEUDWHV LWV WK anniversary this year, starts with a sketch then develops LQWR D ZD[ PRGHO EHIRUH WKH ¿QDO SLHFH LV FUDIWHG LQ Geneva. Before getting to Geneva, however, there’s much

‘Jewellery is an extension of our personality, a story waiting to unfold’ to consider. “As a designer I have to consider the basic structure of the art jewellery piece, the lighting to bring RXW WKH EULJKWHVW ÂżUH LQ WKH JHPVWRQHV DV ZHOO DV WKH engineering and composition of the jewellery during the production. Only when all elements fall into their rightful place, a masterpiece is born.â€? Like a sculpture, every part of Chao’s design tells a story – the materials (gold and titanium),the precious

stones (emeralds, diamonds, sapphires) and the designs EXWWHUĂ€LHV Ă€RZHUV DQG GUDJRQ VFXOSWXUHV Her Ruby Ribbon Ring, which sold for more than US$3.8 million at auction last October, is a case in point. Set with an oval “pigeon’s blood redâ€? natural Burmese ruby, Chao says: “I was shown this stupendous ruby and I was tantalized by its beauty and grandeur. I have DOZD\V EHOLHYHG WKDW PDJQLÂżFHQW JHPVWRQHV DUH QDWXUHÂśV accidental works of art, and its most precious gift to us. With the idea of a ‘gift’, and inspired by the organic Ă€RZ RI ULEERQV , GHVLJQHG WKLV ULQJ DV LI D JLIW LV EHLQJ XQZUDSSHG Âą FRQWLQXRXV SDYHG ULEERQV WKDW VHHP WR Ă€\ in the wind, cradling the ruby.â€? Chao’s empire centres around Taiwan and Beijing, with by-appointment-only viewings in London, New York and Paris. But with each Black Label piece taking over one year to complete, Chao might consider scaling back production in the near future. “Quality of my works is the most important to me,â€? says Chao. “With many of my Black Label masterpieces already taking more than 18 months to complete, I envision we only decrease the number of Black Label Masterpieces in the future.â€? 6R D ÂżQDO ZRUG WR FROOHFWRUV DQG DUW MHZHOOHU\ admirers: now’s the time to (try) and place an order.

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INTERIORS

The future is

NOW AIR picks out key design trends of the season, and a product to match each one

THE TREND:

Luxury wallcoverings THE PRODUCT:

Maison Martin Margiela wallcoverings

The fashion house extends into home wallcoverings in association with Omexco, with gorgeously conceptual patterns. These wallpapers actually tap into two trends – geometric patterns which

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will be found all over the home, and luxury wallpapers ¿QLVKHG LQ JROG DQG VLOYHU The wallcoverings are DYDLODEOH LQ ¿YH WKHPHV ± with herringbone L’optique, pictured, AIR’s choice.

THE TREND:

Sustainable materials and processes THE PRODUCT:

Flamant “Loran” folding screen As the world looks to use its resources in a more environmentally friendly way, luxury brands are taking the time to produce items of simplicity and beauty from sustainable resources, such as Flamant’s intricately patterned folding screen made of mango wood.

THE TREND:

Statement metals THE PRODUCT:

Dornbracht taps Dornbracht’s bold metal taps come from the “Cyprum” range, a VWXQQLQJ URVH JROG ¿QLVK made from 18-carat gold

and copper. Of course, metallics needn’t only be in the kitchen or bathroom – a brass dish in a living

room or black-chromed stainless steel in the bedroom give any space an earthy, functional appeal.

THE TREND:

Velvet THE PRODUCT:

Munna “Hughes” sofa Another pick which contains not one, but two trends (note the lower footer, made of polished brass), velvet is reclaiming luxury living areas. And why not? The soft fabric is perfect for comfortable lounging, and when properly maintained can keep an entire room looking fresh. This Munna sofa comes in a choice of ¿YH ¿QLVKHV - 45 -

Funny FACE

1.

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Words: LARA BRUNT

W

hen Charlie Chaplin’s hastily assembled ‘Little Tramp’, with his toothbrush moustache, ERZOHU KDW DQG FDQH ÂżUVW EXPEOHG onto a movie set in Los Angeles in 1914, he didn’t just make ‘em laugh; he created one of the most iconic FKDUDFWHUV LQ ÂżOP KLVWRU\ $ FHQWXU\ ODWHU WKH VLOHQW ÂżOP VWDU ZKR ZHQW on to make over 80 movies in a career spanning two World Wars and lasting until the Swinging 60s, is still revered as one of Hollywood’s ÂżQHVW “Charlie Chaplin was among WKH ÂżUVW WUXH FHOHEULWLHV RI WKH ÂżOP LQGXVWU\ ´ VD\V /LVD 6WHLQ Haven, a Chaplin expert and assistant professor of English at 2KLR 8QLYHUVLW\ :KLOH VFKRODUV and fans continue to discuss the genius of Chaplin – just last month, a four-day conference was held in Bologna, Italy, to celebrate the centenary of the Little Tramp – his 1964 autobiography reveals how the legendary character came about by FKDQFH While shooting Mabel’s Strange Predicament at Keystone in 1914, the studio’s formidable founder, 0DFN 6HQQHWW IHOW WKH VKRUW ÂżOP ZDV

It’s 100 years since Charlie Chaplin debuted his iconic ‘Little 7UDPSÂś FKDUDFWHU AIR looks at how the silent ÂżOP VWDU VKDSHG Hollywood OLJKW RQ JDJV +H RUGHUHG &KDSOLQ a recent recruit, to put on “comedy PDNH XS´ WR LQMHFW VRPH ODXJKV Âł, had no idea what make-up to put RQ ´ &KDSOLQ UHFDOOHG Âł+RZHYHU RQ the way to the wardrobe I thought I would dress in baggy pants, big VKRHV D FDQH DQG D GHUE\ KDW , wanted everything a contradiction: the pants baggy, the coat tight, the KDW VPDOO DQG WKH VKRHV ODUJH ´

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1. As the ‘Little Tramp’, circa 1920s 2. The Gold Rush (1925) with Georgia Hale 3. Modern Times (1936) 4. On the set of The Gold Rush 5. Behind the camera in 1935 6. The Pilgrim (1923)

The then 24-year-old added a moustache to age his face without masking his expressions and the ORRN ZDV FRPSOHWH Âł7KH PRPHQW I was dressed, the clothes and the make-up made me feel the person KH ZDV , EHJDQ WR NQRZ KLP DQG E\ the time I walked on to the stage he ZDV IXOO\ ERUQ ´ KH ZURWH $QG WKH plucky, anti-authoritarian interloper was an instant hit with audiences DFURVV WKH JOREH Charles Spencer Chaplin was born in London in 1889 to parents who ZHUH ERWK PXVLF KDOO SHUIRUPHUV +LV childhood was marked by poverty and hardship, with an absent father DQG PHQWDOO\ XQVWDEOH PRWKHU $IWHU spending time in workhouses, the young Chaplin began acting and then worked as a comedian in vaudeville, which eventually took him to the US LQ Âł0RVW RI KLV VLOHQW ÂżOPV DQG even the Little Tramp character are based on his experiences in south /RQGRQ ,W D̆HFWHG KLP WKURXJKRXW KLV FDUHHU ´ VD\V 6WHLQ +DYHQ After touring the US with a theatre WURXSH &KDSOLQ ZDV R̆HUHG D PRWLRQ picture contract with Keystone in 7KDW VDPH \HDU KH DSSHDUHG LQ VKRUW ÂżOPV VWDUULQJ DV WKH Little Tramp in nearly all, and GLUHFWLQJ Âł2QFH KH JRW WKDW power [to direct], he kept changing ÂżOP FRPSDQLHV LQ RUGHU WR JHW PRUH FRQWURO ´ VD\V 6WHLQ +DYHQ +H PDGH ÂżOPV DW (VVDQD\ IROORZHG E\ D GR]HQ PRUH DW 0XWXDO :KHQ KLV contract expired in 1917, Chaplin decided to become an independent producer and built his own studio

2.

‘The plucky, anti-authoritarian interloper was an instant hit with audiences across the globe’ in a bid for even greater artistic freedom and longer production WLPHV His next move would have a lasting impact on how the movie EXVLQHVV RSHUDWHG ,Q &KDSOLQ joined forces with actors Mary Pickford and Douglas Fairbanks and director ' : *UL̇WK WR IRUP 8QLWHG $UWLVWV WKH ÂżUVW PDMRU SURGXFWLRQ company to be controlled by artists - 48 -

UDWKHU WKDQ VXLWV ³$W WKH WLPH WKH ¿OP FRPSDQLHV SDLG DFWRUV RQ D bit actor scale to keep salaries low; the formation of United Artists SUHYHQWHG WKDW IURP KDSSHQLQJ ´ VD\V 6WHLQ +DYHQ ,W DOVR VWDUWHG WKH trend among studios to distribute ¿OPV RWKHU WKDQ WKRVH WKH\ SURGXFHG While improvisation and slapstick made him famous, Chaplin also saw

3.

the need to express the subtlety of D FKDUDFWHU ³+LV ¿UVW IHDWXUH ¿OP 7KH .LG LQ ZDV RQH RI WKH ¿UVW ¿OPV WR FRPELQH FRPHG\ DQG SDWKRV DQG LQÀXHQFHG PDQ\ ¿OPPDNHUV RI WKH GD\ ´ VD\V 6WHLQ +DYHQ $IWHU comedies in which he had appeared in every scene, Chaplin directed his ¿UVW VHULRXV ¿OP ¶V $ :RPDQ RI 3DULV 3UDLVHG E\ FULWLFV DXGLHQFHV were not prepared to pay to see D ¿OP LQ ZKLFK WKHLU LGRO GLG QRW DSSHDU The introduction of sound in the late 1920s proved an even greater FKDOOHQJH )HDULQJ KLV JOREDO audience would shrink if the Little Tramp began to speak in English,

Chaplin refused to embrace the new WHFKQRORJ\ ³$OWKRXJK KH KDG PDQ\ people telling him it would be an easy transition, he was adamant he’d make more money if he stayed VLOHQW ´ VD\V 6WHLQ +DYHQ ,Q D EROG move, he went on to make two more VLOHQW ¿OPV &LW\ /LJKWV LQ DQG Modern Times in 1936, nearly 10 \HDUV DIWHU WKH ¿UVW µWDONLH¶ It was also during this period WKDW WKH VLOHQW ¿OP VWDU IRXQG KLV SROLWLFDO YRLFH ³'XULQJ D ZRUOG WRXU to promote City Lights he changed KLV ZKROH SKLORVRSK\ DERXW ¿OPV DQG VRFLDO LVVXHV +LV H\HV ZHUH opened to the devastation the Great Depression had caused outside of - 49 -

$PHULFD ´ VD\V 6WHLQ +DYHQ +LV QH[W ¿OP ± DQG ¿UVW WDONLH ± ZDV ¶V The Great Dictator, which poked fun DW $GROI +LWOHU ³:H QRZ FRQVLGHU WKRVH ¿OPV PDVWHUSLHFHV EHFDXVH of their messages as well as their DUWLVWLF TXDOLWLHV %XW DW WKH WLPH people weren’t happy to see Chaplin GRLQJ WKDW VRUW RI WKLQJ ´ VD\V 6WHLQ +DYHQ While personal scandals dogged Chaplin throughout his career, IURP WKH ³VODFNHU´ ODEHO KH DFTXLUHG during WWI for not enlisting in the British Army to his numerous marriages to much younger women, it wasn’t until the 1940s that his SRSXODULW\ UDSLGO\ GHFOLQHG ³7KH

ÂżQDO VSHHFK IURP 7KH *UHDW 'LFWDWRU is very political and that began to WXUQ WKH WLGH DJDLQVW KLP ´ VD\V 6WHLQ +DYHQ +H FDPSDLJQHG YLJRURXVO\ on behalf of the Russian War Relief Fund, views that were seen as proCommunist, and therefore anti$PHULFDQ By 1947, amid intense antiCommunist feeling, the US government openly questioned his PRUDO DQG SROLWLFDO YLHZV Âł&KDSOLQÂśV philosophical leanings were very Ă€XLG KH QHYHU VLJQHG XS IRU WKH &RPPXQLVW SDUW\ ,QVWHDG KH wanted to spout whatever political philosophy he was interested in DW WKH WLPH ´ VD\V 6WHLQ +DYHQ ,Q 1952, while Chaplin was in London attending the premiere of his latest ÂżOP /LPHOLJKW KLV UH HQWU\ SHUPLW WR WKH 86 ZDV UHYRNHG Âł+H NQHZ KLV QXPEHU ZDV XS ´ VKH DGGV Chaplin moved to Switzerland

4.

‘He probably should have stopped with Limelight, which, ironically, was about an ageing comedian’ ZLWK KLV IRXUWK ZLIH 2RQD +H PDGH WZR PRUH ÂżOPV $ .LQJ LQ 1HZ York in 1957, satirising the political paranoia of the Cold War era, and A Countess from Hong Kong in 1967, starring Marlon Brando and Sophia /RUHQ Âł,W IDLOHG EHFDXVH WKH VFULSW was out-dated and Brando and Loren KDG QR FKHPLVWU\ ´ VD\V 6WHLQ +DYHQ “He probably should have stopped with Limelight, which, ironically, ZDV DERXW DQ DJHLQJ FRPHGLDQ ´ 7KH ÂżOPPDNHU UHWXUQHG WR WKH US in 1972, aged 82, to accept an honorary Oscar for “the incalculable H̆HFW KH KDV KDG LQ PDNLQJ motion pictures the art form of WKLV FHQWXU\´ $IWHU D PLQXWH standing ovation, the Little Tramp was handed his trademark hat and FDQH IRU WKH ODVW WLPH 7KH LQLPLWDEOH actor, writer, producer, director and FRPSRVHU GLHG RI QDWXUDO FDXVHV ÂżYH years later, having made the world laugh more than any other man EHIRUH KLP

5.

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6.

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‘I’m in it for the conversations, really’ Despite her long career in both arthouse and mainstream films, Tilda Swinton sees her main role as a fixer, rather than a star. David Gritten is intrigued

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B

efore I went to meet Tilda Swinton, there were several things I already knew about her. I knew she once lay in a glass case for a week for an installation called The Maybe at London’s Serpentine Gallery, and tried to sleep while members of the paying public circled her, watching. I knew she almost never wears make-up, a rule she did not break the one time she went to the Academy Awards. After winning an Oscar in 2008 (for VXSSRUWLQJ DFWUHVV LQ WKH ÂżOP 0LFKDHO &OD\WRQ VKH gave the statuette to her agent. She had never watched the Oscars on television and has not done so since. I knew she lives in Nairn, a remote town in the Scottish Highlands, where, in 2008, she subsidised and MRLQWO\ RUJDQLVHG D FRV\ OLWWOH ÂżOP IHVWLYDO LQ D EDOOURRP without corporate sponsorship; the seats were bean bags, admission was waived for those who baked and brought cakes to share with others, and Swinton greeted festival-goers in her pyjamas. This is a woman who went WR &DPEULGJH ZLWK WKH DPELWLRQ RI EHLQJ D SRHW DQG ZKLOH WKHUH MRLQHG WKH &RPPXQLVW 3DUW\ $OO RI ZKLFK FRQÂżUPV VRPHWKLQJ HOVH , NQHZ WKDW Swinton is not your typical actress. Indeed, she barely regards herself an actress at all. She has an artist’s soul and a bohemian’s view of life. In Hollywood parlance, she doesn’t ‘play the game’ – meaning, advancing her FDUHHU YLD FRQYHQWLRQDO SXEOLFLW\ DQG UROHV LQ ELJ ÂżOPV This has led to false assumptions that she is intimidDWLQJ DQG RWKHU ZRUOGO\ &HUWDLQO\ KHU DSSHDUDQFH LV unusual, even formidable. She is tall and slender, with a long neck, pale ivory skin and a direct, unblinking gaze. We meet in the library of a chic London hotel. In person, Swinton lives up to two more adjectives

Swinton has form in this regard. She maintained unwavering support to help Erick Zonca complete Julia LQ ZKLFK VKH SOD\HG WKH WLWOH UROH Âą D GLVVROXWH alcoholic embroiled in an unwise kidnap scheme. She stuck with the Italian director Luca Guadagnino for 10 \HDUV EHIRUH KH ÂżQDOO\ VWDUWHG VKRRWLQJ WKH UDYLVKLQJ , $P /RYH DQ LQWHQVH TXDVL RSHUDWLF VDJD RI a rich Milanese family, with Swinton as a Russianborn wife in love with a young chef. “Having to carry WKDW ERDW RYHU WKH PRXQWDLQ ZDV TXLWH VRPHWKLQJ ´ VKH recalls of their decade-long travails with a shudder. And IRU :H 1HHG 7R 7DON $ERXW .HYLQ LQ ZKLFK VKH plays the mother of a troubled teenage boy who embarks on a killing spree at his suburban American high school, Swinton recalls that she wanted to help her Scottish GLUHFWRU /\QQH 5DPVD\ ÂłPDNH LW DQ\ ZD\ , FRXOG ´ Yet, as Swinton tells it, this unswerving commitment WR ÂżOPPDNHUV LV ZKDW VKH GRHV EHVW )URP HDUO\ LQ KHU career, she insists, “I was very clear about one thing. I wasn’t really interested in being an actor, not interested in being industrially employed. I’m in it for the FRQYHUVDWLRQV UHDOO\ ´ Seriously? She doesn’t think of herself as being primarily an actress? She shakes her head. “I’ll dress up and play on a project for 30 days. But I’ll talk about LW IRU ÂżYH \HDUV EHIRUH DQG WZR \HDUV DIWHU VKRRWLQJ ,ÂśYH been talking about I Am Love for 12 years now. I talk to ÂżOPPDNHUV SHRSOH LQ \RXU SRVLWLRQ >WKH PHGLD@ WR EDQN managers. That’s what I’m really for. It feels like my SURSHU MRE ´ &RPLQJ IURP KHU WKLV IHHOV FUHGLEOH 6KHÂśV D VXSHUE conversationalist – engaged, enthusiastic, thinking through her ideas as she speaks. And unlike many in her profession, she is a thoughtful, attentive listener.

‘I’m not aware of how I’m understood or misunderstood. How would I know? You’d have to do a lot of reading, and life’s too short’ URXWLQHO\ DVVLJQHG WR KHU DQGURJ\QRXV DQG VW\OLVK She is 53 but looks younger, thanks to her line-free features. Her hair is cut boyishly; she has long invited comparisons with David Bowie in his Berlin-exile era. But today, with a wedge of hair atop a short back and sides, in a blue-and-white striped Oxford shirt and NKDNL VODFNV VKH UHVHPEOHV D PLOLWDU\ ṘFHU R̆ GXW\ a notion her ramrod-straight posture does nothing to discourage. She’d make a great T.E. Lawrence. Yet if her looks mark her as a faintly ethereal, standṘVK DHVWKHWH VKH LV JURXQGHG SUDFWLFDO DQG IULHQGO\ LQ SHUVRQ $QG KHUHÂśV RQH WKLQJ , GLGQÂśW NQRZ DERXW KHU LI \RX DUH D ÂżOPPDNHU ZLWK D VFULSW SHUFHLYHG DV GL̇FXOW or uncommercial, and she commits to you, she will doggedly stay beside you for as long as it takes to get it produced and shot.

$V KHU IULHQG 0DUN &RXVLQV WKH ZULWHU ÂżOP KLVWRULDQ and co-organiser of that Nairn ballroom festival, points out, there’s also a playful side to Swinton. “She could run a brilliant children’s party business. I’ve seen Tilda referred to as cold or icy, maybe because of the &KURQLFOHV RI 1DUQLD ÂżOPV >LQ ZKLFK VKH ZDV WKH :KLWH :LWFK@ , FDQÂśW WKLQN RI DQ\RQH LQ WKH ZRUOG OHVV VR ´ Katherine Matilda Swinton was born in London, the only girl of four children, into one of Britain’s oldest landed families. Her mother is Australian, her father, Major-General Sir John Swinton, is a former Lord Lieutenant of Berwickshire and still lives in the family’s ancestral home, near a border village named after the family. The Swintons can trace their lineage back to the 11th century. Swinton attended the small, exclusive West Heath

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Girls’ School in Kent as a boarder (the young Diana 6SHQFHU ZDV D FODVVPDWH PRYLQJ RQ WR (GLQEXUJKÂśV )HWWHV &ROOHJH 7RQ\ %ODLUÂśV DOPD PDWHU EHIRUH JRLQJ WR &DPEULGJH WR UHDG VRFLDO DQG SROLWLFDO VFLHQFHV 6KH appeared in student productions and worked at the 5R\DO 6KDNHVSHDUH &RPSDQ\ EHIRUH GHFLGLQJ WKHDWUH was not for her. Soon afterwards, she joined forces with the avantJDUGH ÂżOPPDNHU 'HUHN -DUPDQ DSSHDULQJ LQ KLV &DUDYDJJLR DQG FROODERUDWLQJ RQ VHYHQ PRUH RI KLV ÂżOPV XQWLO KLV GHDWK LQ ,W UHPDLQV WKH PRVW important creative relationship of her life. “He was my LQWURGXFWLRQ WR WKH ZRUOG RI FLQHPD ´ VKH VD\V Âł, ZDV

Swinton recalls, “and when it was released, I hated it IRU \HDUV ,W IHOW OLNH WKH WUDLOHU RI WKH ÂżOP WKDW LQ P\ inexperience I thought we were going to present. You ZRUN RQ VRPHWKLQJ IRU ÂżYH \HDUV DQG ZKHQ , VDZ LW WR PH LW VHHPHG OLNH D ÂżQJHUQDLO ´ 6WLOO LW FRQÂżUPHG KHU DV RQH RI RXU OHDGLQJ DUW house actresses until the turn of the century, when she embarked on what she now wryly calls her “American DGYHQWXUHV´ $VLGH IURP KHU 2VFDU ZLQQLQJ UROH DV .DUHQ &URZGHU D KLJKO\ VWUXQJ ODZ\HU LQ 0LFKDHO &OD\WRQ RSSRVLWH *HRUJH &ORRQH\ VKH KDV ZRUNHG IRU WKH GLUHFWRUV 6SLNH -RQ]H $GDSWDWLRQ WKH &RHQ EURWKHUV %XUQ $IWHU 5HDGLQJ DQG 'DYLG )LQFKHU 7KH &XULRXV

‘Swinton is not your typical actress. Indeed, she barely regards herself an actress at all’ OLNH D PRVV WKDW JUHZ RQ KLV Ă€DQQHO IRU QLQH \HDUV 6R when he died I was up a gum tree, because I had learnt a habit which didn’t necessarily translate into any other UHODWLRQVKLS :KHQ , ÂżUVW PHW 'HUHN , VLPSO\ ZDQWHG WR SOD\ ZLWK KLP ´ , FOHDUO\ UHFDOO WKH ÂżUVW WLPH , FODSSHG H\HV RQ Swinton. It was 20 years ago, at Bray Studios in Berkshire, where Jarman was shooting his revisionist ÂżOP YHUVLRQ RI 0DUORZHÂśV (GZDUG ,, FRPSOHWH ZLWK &KLFDJR HUD JDQJVWHUV DQG PRGHUQ GD\ ULRW SROLFH 6KH SOD\HG WKH NLQJÂśV )UHQFK ZLIH ,VDEHOOD $W RQH SRLQW Jarman took time out between scenes to address the whole cast and crew, and Swinton sat right in the front, FURVV OHJJHG RQ WKH Ă€RRU ORRNLQJ XS DW KLP LQWHQWO\ ZLWK that unblinking stare. She looked like a devoted young disciple. Someone told me this was not even a working day for her – she had come in specially to listen to her mentor. Yet by then she was a known entity. She had played a Scottish country singer in the television series Your &KHDWLQÂś +HDUW ZULWWHQ E\ WKH *ODVJRZ DUWLVW SOD\ZULJKW John Byrne. (He was her long-term partner for several \HDUV DQG LV WKH IDWKHU RI KHU WZLQV $QG VKH KDG DOPRVW FRPSOHWHG WKH ZRUN WKDW ZRXOG GHÂżQH KHU ÂżOP FDUHHU Âą LQ WKH WLWOH UROH RI 6DOO\ 3RWWHUÂśV H[WUDYDJDQW 2UODQGR EDVHG RQ 9LUJLQLD :RROIÂśV IDEOH Swinton played an Elizabethan nobleman who stays forever young; the story follows him through the centuries to the present day; along the way, he changes sex. After Orlando, it became almost mandatory to use the word ‘androgynous’ when describing Swinton. :LWK -DUPDQ DQG RQ 2UODQGR VKH ÂżUVW OHDUQW WKH KDELW RI ZRUNLQJ ZLWK ÂżOPPDNHUV WKURXJK \HDUV RI VWUXJJOH WR JHW WKHLU ZRUN PDGH ,W VXLWHG KHU Âł6KH FRPHV IURP D PLOLWDU\ EDFNJURXQG DQG WKHUHÂśV QR GLYD VWX̆ DERXW KHU ´ 5DPVD\ VD\V Âł,Q WKH HQG VKHÂśV OLNH SDUW RI WKH FUHZ ´ Âł2UODQGR ZDV WKH ÂżUVW ÂżOP , ZDV DOO WKH ZD\ LQ RQ ´

&DVH RI %HQMDPLQ %XWWRQ $QG WKH 1DUQLD ÂżOPV ZHUH high-budget studio blockbusters. <HW VKH UHPDLQV WUXH WR ULJRURXV DUW KRXVH ÂżOPV Âł$PHULFDQ ÂżOPPDNHUV FRQWDFWHG PH DQG , ZHQW WR $PHULFD ´ VKH VKUXJV Âł, QHYHU ORRNHG IRU WKRVH UHODWLRQVKLSV 7KH\ UDQJ PH DW KRPH ´ &RXVLQV FRQÂżUPV WKLV Âł7LOGDÂśV EULJKWQHVV PHDQV WKH +ROO\ZRRG EUDQG GRHVQÂśW VHGXFH KHU ´ KH VD\V Âł,W would be harder for her if she was half in love with the Hollywood bauble and its lifestyle, but she’s not. /LNH -XOLH &KULVWLH DQG -HDQQH 0RUHDX EHIRUH KHU VKH FKRRVHV ÂżOPV E\ WKHLU GLUHFWRUV UDWKHU WKDQ E\ JHQUHV RU budgets. She just goes to the party, sings the song, then JHWV EDFN RQ WKH EXV KRPH ´ Still, this makes it hard for the media to pin Swinton down, a fact that interests her not one bit. When I ask what she thinks is the major misconception about her, she looks amused. “I’m not aware of how I’m understood RU PLVXQGHUVWRRG DQG >VKH GURSV KHU YRLFH WR D ZKLVSHU@ maybe I’d have to care. How would I know? You’d have to do a lot of reading, and life’s too short. I don’t do Âľ)ULHQGIDFHÂś >KHU GHOLEHUDWH PLVQRPHU IRU )DFHERRN@ I’m friend-free. I’m impervious. “I’m vaguely aware of wafting myths about the way we live, but I’m way too tired to think of even FRUUHFWLQJ WKHP ´

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A STAR IS

REBORN *

Cult 20th-century couturier Charles James is back in fashion, with a major retrospective in New York and the revival of his eponymous label

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C

hristian Dior called him “the greatest talent of my generation,” yet, outside of fashion circles, Charles James is largely unknown. That’s all set to change, as an exhibition honouring the legendary AngloAmerican designer was unveiled in New York in the same week that movie mogul Harvey Weinstein announced plans to revive the couturier’s label. While his name may draw a blank for many, it speaks volumes that Anna Wintour chose James for the inaugural exhibition at the Metropolitan Museum of Art’s new costume centre that bears her name. Charles James: Beyond Fashion features over 65 of James’s most notable designs, created from the 1920s until his death in 1978. The retrospective explores his design process, which he approached with a sculptor’s eye and a scientist’s logic, to construct revolutionary ball gowns and innovative tailoring

Weinstein said in a statement. “There isn’t a single designer in high fashion who wouldn’t name him as a PDMRU LQÀXHQFH ´ Weinstein’s wife, Georgina Chapman, is one such designer. Chapman co-founded the Marchesa label with Keren Craig in 2004, known for its extravagant couture gowns that are regularly seen on red carpets. “[James has] long been an inspiration to me and everyone at Marchesa,” she says. Chapman will serve as creative consultant to the Charles James brand alongside her brother, Marchesa CEO Edward Chapman. While the designer is most often remembered for the lavish evening dresses he created during the late 1940s and early 1950s, he believed his innovations lay in the actual structure of his designs, once commenting: “You should know my most important contribution was always in tailoring; coats, jackets, wool dresses…so few of which went into the magazines.” James was born in 1906 in Surrey,

Balenciaga said, ‘James is not America’s greatest couturier. He is simply the world’s best’ WKDW FRQWLQXH WR LQÀXHQFH GHVLJQHUV today. “He’s acknowledged as one of the designers who has absolutely transformed the métier of fashion design,” says curator Harold Koda. “Christian Dior is said to have credited James with having inspired his New Look. Balenciaga said, ‘James is not America’s greatest couturier. He is simply the world’s best’. ” Shortly after the launch of the exhibition in May, the Weinstein Company agreed to license, with an option to buy, the defunct label from the late couturier’s estate. “Charles James was one of the most incredible couturiers in the history of fashion and this label deserves to be a household name in same ranks as Chanel, Dior and Oscar de la Renta,”

England. His mother hailed from a prominent Chicago family and his IDWKHU ZDV D %ULWLVK PLOLWDU\ ṘFHU Raised and educated in England, he moved to Chicago in 1926, at the age of 19, where he began his career as a milliner. Two years later, he set XS D ÀHGJOLQJ GUHVVPDNLQJ EXVLQHVV in New York, before returning to England in 1929. By the mid-1930s James had established a viable dressmaking business working out of London and the Lancaster Hotel in Paris, and was recognised for his revolutionary DSSURDFK WR GUHVVPDNLQJ ± R̆ JUDLQ cuts, displaced seams, asymmetric draping that eliminated darts. He moved in the same circles as artistic luminaries such as Cecil Beaton and Salvador Dalí, while couturiers Paul Poiret, Elsa Schiaparelli, Cristobal - 60 -

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Opening page: Charles James, 1936. Photograph by Cecil Beaton, The Cecil Beaton Studio Archive at Sotheby’s. This page: Charles James Ball Gowns, 1948. Photograph by Cecil Beaton, Beaton / Vogue / Condé Nast Archive. Copyright © Condé Nast.

Babe Paley in Charles James Gown, 1950. Photograph by John Rawlings, Rawlings / Vogue / Condé Nast Archive. Copyright © Condé Nast.

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Charles James with Model, 1948. Photograph by Cecil Beaton, Beaton / Vogue / Condé Nast Archive. Copyright © Condé Nast. All photographs courtesy of The Metropolitan Museum of Art.

Nancy James in Charles James Swan Gown, 1955. Photograph by Cecil Beaton, The Cecil Beaton Studio Archive at Sotheby’s.

‘His obsessive perfectionism led him to behave erratically’

Balenciaga and Christian Dior were also among his early supporters. “Did you know Paul Poiret wrote me a marvellous letter once saying, ‘I give you my crown: you do in cut what I have done in colour’,â€? James once said. In late 1939, the designer left London and moved permanently to New York. By 1945, after working EULHĂ€\ IRU (OL]DEHWK $UGHQ ZKRVH showroom he designed, he had JDLQHG VẊFLHQW UHFRJQLWLRQ WR open his own salon on Madison Avenue, custom-designing gowns for America’s most stylish women, such as Millicent Rogers and Austine Hearst. Although his REVHVVLYH SHUIHFWLRQLVP DQG GL̇FXOW personality led him to behave erratically and irresponsibly in business and in life, his clients went to great lengths to support him DUWLVWLFDOO\ DQG ÂżQDQFLDOO\ James was at the height of his popularity in the early 1950s, receiving prestigious awards from his fashion industry peers and designing a 1953 ball gown known as the “Abstractâ€? or “Clover Leafâ€?, which was heralded as an aesthetic and technical masterwork. He also created innovative sculptural coats produced in association with well- 63 -

known manufacturers; however, these partnerships were short-lived, as James’s perfectionism ran counter to the demands of the ready-to-wear market. Financial mismanagement, endless litigation with licensees and his inability to work within the FRQÂżQHV RI WKH PDLQVWUHDP IDVKLRQ industry eventually destroyed his business. He closed his Madison Avenue showroom in 1958, but continued to work on perfecting existing designs and creating new ones. The last 14 years of his life were spent drug-addled and destitute at the Chelsea Hotel, New York’s legendary haven for artists, where he held court with a coterie of devoted clients, friends and admirers. He embarked on a series of projects focussed on “fashion engineeringâ€? with the Art Students League and Pratt Institute, and won a Guggenheim Fellowship to write a book on the same subject. He never produced the book, nor did he ÂżQLVK KLV DXWRELRJUDSK\ ZKLFK KH intended to call “Beyond Fashionâ€?. )DVKLRQÂśV Ă€DZHG JHQLXV GLHG RQ September 22, 1978. Charles James: Beyond Fashion runs at The Metropolitan Museum of Art, New York until August 10.

MOTORING

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THE

SPORTS UBIQUITY VEHICLE

Luxury SUVs are taking over the motoring world, and the biggest brands are scrambling to join the party

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MOTORING

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GASTRONOMY

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GASTRONOMY

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sk a hundred people on the street to name a celebrity chef, and at least 99 of them will say one name – Gordon Ramsay. The chef’s eponymous 2001 restaurant opening at London’s Claridge’s was the springboard to 12 years of worldwide fame and success, until contract negotiations broke down in 2013, leaving the venerable hotel with an extremely conspicuous hole WR ÂżOO Meanwhile, in Marylebone, a chef by the name of Simon Rogan was quietly wowing diners at Roganic, a two-year pop-up restaurant built on the foundation of British ingredients that he’d used to such acclaim at his Lake District eatery L’Enclume. Rogan knew that the space at Claridge’s was his for the taking. “When the announcement [that Ramsay was leaving] was made, every chef in the world would have thought ‘I wouldn’t mind going there’,â€? Rogan tells AIR. “We were having a successful time at Roganic and wanted another London premises. I never thought it would ever be a possibility. I heard a lot of world-famous names being mentioned,

‘I learned that I didn’t know anything. I went in thinking that I was the bee’s knees having worked in a kitchen for a couple of years’ and then I thought why shouldn’t that be me? If you take into account what my team and I had achieved over the last two or three years, I should be near the top of the list. But I didn’t really think about it until very late in the day when I got the call asking if I was interested – taking the call I’d dreamed about my entire life was a very surreal moment.â€? For Rogan, the path leading to this opportunity had been somewhat rocky. A career pocked with false starts exploded into life with the opening of L’Enclume in 2002. Ingredients sourced exclusively from its own farm brought challenges that Rogan overcame with ease, earning two Michelin stars in the process. His roots in the kitchen, and for natural produce, go back to childhood. “I developed a love of ingredients at an early age,â€? he recalls. “My father used to work at a wholesalers in Southampton that supplied all the fruit and vegetables to the ships leaving the ports. I used to sit on the pallets and watch all the forklift trucks bombing around. It was a really exciting place to be for a young lad. My dad used to get a goodie bag at the end of the ZHHN DQG D ORW RI WKH VWX̆ LQ LW ZDV UHDOO\ DOLHQ WR XV ,ÂśP WDONLQJ ZD\ EDFN ZKHQ VWX̆ OLNH NLZLV ZHUH DOPRVW unknown. It all used to come home and go in our fridge, and more often than not it got chucked away because we didn’t know what to do with it. That got me interested

LQ ÂżQGLQJ RXW ZKDW WKH\ ZHUH DQG DFWXDOO\ XVLQJ WKHP I got into cooking at home and I just really enjoyed it. That led to myself getting a part-time job at an early age in a Greek restaurant in Southampton at weekends, and that’s how I got started in cooking.â€? 7KH WHHQDJH 5RJDQ Ă€XVK ZLWK VXFFHVV DW WKH UHODWLYHO\ small Greek restaurant, soon decided that he wanted to cook as a career, and enrolled in a part-time college. “I learned that I didn’t know anything,â€? he chuckles, “I went in thinking that I was the bee’s knees having worked in a kitchen for a couple of years and I thought I knew everything. But when I got to college with people who had worked in serious restaurants and were much, PXFK EHWWHU WKDQ PH WKDW VHW R̆ P\ FRPSHWLWLYH QDWXUH because I wanted to be better and compete with these

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TRAVEL

HEAD for the HILLS Escape to the English countryside this summer and hole up in one of these quintessential luxury retreats

Foxhill Manor Cotswolds Set within the 400-acre Farncombe Estate, this characterful property recently underwent a US$3.7 million refurbishment. Built as a private residence in 1909, the stunning *UDGH ,, OLVWHG PDQRU R̆HUV HLJKW well-appointed rooms and suites, a private dining room, lounge and bar, and media room. The décor is classic with a contemporary edge, while the ¿[WXUHV DUH ODYLVKO\ VWDQGRXW ± GHHS sunken bathtubs, grand chandeliers DQG OX[XULRXV IDEULFV $QG ZLWK D private house butler and catering team on site, take some time to sit back and admire the sweeping views across the Vale of Evesham and Welsh Black Mountains. dormyhouse.co.uk/foxhill-manorhotel - 72 -

Holbeck Ghyll Country House Hotel Lake District Surrounded by rolling hills, this ¿YH VWDU SURSHUW\ LV ZKDW JLYHV WKLV mountainous region its reputation as the Taste District – the District’s only Michelin-starred establishment is located here. The hotel sleeps up to 50 guests, with 13 rooms and suites in the main house, an additional VL[ URRPV LQ 7KH /RGJH WZR OX[XU\ FRWWDJHV DQG WKUHH VXLWHV ¹ LQFOXGLQJ the Miss Potter Suite where actress RenÊe Zellweger lived while making D ¿OP DERXW WKH IDPRXV FKLOGUHQœV DXWKRU %HDWUL[ 3RWWHU +RPH WR D sumptuous spa, no amenity has been OHIW XQWXUQHG DW +ROEHFN $QG ZLWK a private helicopter-landing pad for guests, getting there is as stress-free as could be. holbeckghyll.com - 73 -

TRAVEL

Hotel Endsleigh Devon 'HVLJQHG E\ -H̆U\ :\DWYLOOH IRU WKH 6th Duke of Bedford in 1811, then bought and lovingly restored in 2005 E\ 2OJD 3ROL]]L +RWHO (QGVOHLJK LV D stunning Grade I historic house set in 108 acres of fairy-tale woodland. Tucked away in the peaceful Tamar Valley, on the edge of Dartmoor National Park, this delightful hotel R̆HUV EHGURRPV LQFOXGLQJ WZR suites and a secluded lodge, all of which have been designed with the spirit of the Regency period in mind. /LNH WKH URRPV WKH IDFLOLWLHV DUH superb: two dining rooms, a 100plus acre garden, a croquet lawn, a well-stocked library and table WHQQLV $QG IRU JXHVWV ZKR ZLVK WR disappear for an hour or two, the concierge is on hand to organise a UDIW RI H[FXUVLRQV VXFK DV ¿VKLQJ RQ the River Tamar, bike hire, picnics to the nearby picture-perfect villages, horse riding, shooting (clay), falconry or an in-room massage. Time to kick back and lose yourself in England’s wondrous countryside. hotelendsleigh.com

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Lords of the Manor Hotel Cotswolds This olde worlde hotel, once a former UHFWRU\ R̆HUV D TXLQWHVVHQWLDO countryside setting: formal gardens, patchwork hills and undulating woods. While the hotel was completely refurbished in 2008, it still has all its charm and the oodles of character that made it so special in its earlier years. There’s room for 50 guests, with 26 rooms split LQWR ¿YH FDWHJRULHV 7UDF\ /RUG Manor, Rectory and Country rooms. )L[WXUHV DQG IXUQLVKLQJV UDQJH IURP colonial-style four-poster beds and free-stranding baths, to French windows asking to be swung open in the summer. For gourmands there’s the Michelin-starred restaurant on site, serving up Brit FODVVLFV XVLQJ WKH ¿QHVW SURGXFH RU for travellers with a penchant for pampering, there’s the in-room spa menu. What was that you say, the Cotswold countryside is calling? lordsofthemanor.com

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LIFE LESSONS

WHAT I KNOW NOW

Vartkess Knadjian, CEO Backes & Strauss

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